Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
12-05-12, 03:52 PM
#176
Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
I've been looking forward to this like crazy, but the clips have me a little worried. I love musicals and really love Les Miserables... but the draw is the music, the singing, and the wedding of a dramatic story to full-blown vocal performances. It appears in these clips that the actors are kinda too used to film acting and are trying to get all Brando on this material. This material is stylized and meant to be sung, not stuttered and whispered. They're breaking into speech! "Who Am I" is more monologue than song here, and it just doesn't work for me.
Either drop the music and let the actors talk or make them be disciplined and sing this shit! The odd hybrid of talk-singing is jarring and self-indulgent. Everytime the actor breaks the song to mutter or insert a pause that doesn't exist in the song, he or she is cutting off the building catharsis of the scene. In truth, I'm not blaming the actors. It's their job to try everything and be intuitive, but the director and editor should use better judgment.
That said, "At the End of the Day" sounds good because it's got a chorus of actual disciplined singers behind it. Although, Anne Hathaway is doing too much fidgeting while the others are singing. She's a great film actress, but on stage you learn how to be present and listen and not always have to be "acting" with little bits of "expressed" emotion. Just chill, chica, and let your eyes do the work.
Either drop the music and let the actors talk or make them be disciplined and sing this shit! The odd hybrid of talk-singing is jarring and self-indulgent. Everytime the actor breaks the song to mutter or insert a pause that doesn't exist in the song, he or she is cutting off the building catharsis of the scene. In truth, I'm not blaming the actors. It's their job to try everything and be intuitive, but the director and editor should use better judgment.
That said, "At the End of the Day" sounds good because it's got a chorus of actual disciplined singers behind it. Although, Anne Hathaway is doing too much fidgeting while the others are singing. She's a great film actress, but on stage you learn how to be present and listen and not always have to be "acting" with little bits of "expressed" emotion. Just chill, chica, and let your eyes do the work.
But ... they're only advance clips, that may not even reflect what those scenes in the movie are like. And advance screenings have been positive. So I'm still seeing this early with optimism.
12-05-12, 04:14 PM
#177
DVD Talk Hero
Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
Oh god don't remind my ears of Brosnan. The more I've watched the parole clip, the more I like Crowe's voice.
The premiere is happening in London right now, so we should hear more reactions in an hour or so. There's a print review embargo, but I'm not sure when it ends.
The premiere is happening in London right now, so we should hear more reactions in an hour or so. There's a print review embargo, but I'm not sure when it ends.
12-05-12, 08:59 PM
#178
Moderator
Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
I had the same response. Hugh Jackman's a better singer than this "Who Am I?" clip makes him out to be, right? None of the male singers I've heard so far sound particularly good. Javert has had gruff deliveries before, so that might be ok. But Redmayne sounds like Kermit the Frog (even the Jonas brother sounded better).
But ... they're only advance clips, that may not even reflect what those scenes in the movie are like. And advance screenings have been positive. So I'm still seeing this early with optimism.
But ... they're only advance clips, that may not even reflect what those scenes in the movie are like. And advance screenings have been positive. So I'm still seeing this early with optimism.
12-06-12, 02:56 AM
#179
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Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
Some early reactions starting to pop up on Twitter:
emma freud @emmafreud
#lesmis most extraordinary moving amazing glorious movie experience of all time. Am in Shock and awe.10 rounds of applause DURING the film.
westendproducer @westendproducer
And huge congratulations to Cameron - who against all odds believed in #LesMis when others didn't. This is his crowning glory. Bravo, #dear
westendproducer @westendproducer
The performances are raw, natural, enchanting. And it sounds epic. The best musical film of all time? I think possibly so. #dear #LesMis
VOGUE.CO.UK @BritishVogue
Huge whoops and cheering as the credits roll up at the end of @lesmiserables premiere. Truly epic. #LesMis
Kevin McCarthy @bdkreviews
#LesMiserables is a true cinematic revolution..Anne Hathaway gives the best performance from an actress in 2012..live singing does wonders!
#lesmis most extraordinary moving amazing glorious movie experience of all time. Am in Shock and awe.10 rounds of applause DURING the film.
westendproducer @westendproducer
And huge congratulations to Cameron - who against all odds believed in #LesMis when others didn't. This is his crowning glory. Bravo, #dear
westendproducer @westendproducer
The performances are raw, natural, enchanting. And it sounds epic. The best musical film of all time? I think possibly so. #dear #LesMis
VOGUE.CO.UK @BritishVogue
Huge whoops and cheering as the credits roll up at the end of @lesmiserables premiere. Truly epic. #LesMis
Kevin McCarthy @bdkreviews
#LesMiserables is a true cinematic revolution..Anne Hathaway gives the best performance from an actress in 2012..live singing does wonders!
12-06-12, 08:42 AM
#180
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Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
The way I look at it, Les Miserables on film is a whole different world than Les Miserables on stage. Editing, quick change of scenery location, etc ... it can all happen in the film version without the music needed to tie everything together into continuous motion. The actors don't need to belt lines because the camera can better catch quiet moments and a more subtle demeanor. I tend to think that each person's favorite "cast" is generally the one they first heard, and even when you see the stage play, differences are jarring at first as a line is changed or tempo is modified slightly. It is my hope that once Look Down is over, I'll have bought into the film's world.
12-06-12, 11:07 AM
#181
Moderator
Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
The way I look at it, Les Miserables on film is a whole different world than Les Miserables on stage. Editing, quick change of scenery location, etc ... it can all happen in the film version without the music needed to tie everything together into continuous motion. The actors don't need to belt lines because the camera can better catch quiet moments and a more subtle demeanor. I tend to think that each person's favorite "cast" is generally the one they first heard, and even when you see the stage play, differences are jarring at first as a line is changed or tempo is modified slightly. It is my hope that once Look Down is over, I'll have bought into the film's world.
12-06-12, 01:11 PM
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Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
http://www.telegraph.co.uk/culture/f...es-review.html
Do you hear the people sing? Stand outside any cinema in just over one month’s time and you will. Tom Hooper’s screen adaptation of Les Misérables is a heart-soaring, crowd-delighting hit-in-waiting: the Mamma Mia it’s all right to like.
This adaptation of the long-running stage musical, itself based on Victor Hugo’s epic tale of romance and revolution in 19th century France, is Hooper’s first film since The King’s Speech (2010). It is as broad and sturdy as the shoulders of its twinkling-eyed star Hugh Jackman, who plays the reformed thief Jean Valjean – yet amid the bombast, it comes as close as a £40 million musical can to intimacy, thanks in part to an extraordinarily deeply-felt performance by Anne Hathaway as Fantine, a seamstress who falls into prostitution.
Everything about the film is enormous, from Claude-Michel Schönberg’s cannon-fire score to its bladder-twitching two-hour, 40-minute running time. Every last frame is rocket-launched at the back row of the cinema.
As in the stage production of Les Misérables, most of the dialogue is sung, not spoken, and Hooper’s masterstroke is to treat it as speech, not singing. The cast’s vocal performances were recorded on set as live rather than lip-synched to studio tapes, and this gives the music a vital, corporeal presence within the film: it’s like watching real,physical stuntwork instead of computer-generated trickery.
This also allows Hooper’s camera to zero in on his performers’ faces during the big, tremulous, heartfelt numbers, which in Les Misérables is all of them. When Russell Crowe’s Javert wrestles with his iron conscience, we can see the struggle behind his eyes. Eddie Redmayne and Amanda Seyfried play the lovers Marius and Cosette, and their duets are a miraculous clash of pouts and cheekbones.
Isabelle Allen and Daniel Huttlestone will thaw hearts as the young Cosette and the street urchin Gavroche, while Helena Bonham Carter and Sacha Baron Cohen play it grotesquely, even Burtonesquely broad as the villainous Thénardiers.
But the showstopper is Hathaway. When she half-sings, half-sobs I Dreamed A Dream, hair cropped and eyes shining like Maria Falconetti, Hooper captures her performance in a single, unblinking, breath-catching close-up. This will be the clip they show before she wins her Oscar.
Les Misérables is only Hooper’s fourth feature, and his directorial style is still bedding in: some big, comic-book camera angles feel a touch over-egged, as does the extraordinarily shallow focus he uses in close-up. But he marshals the spectacle so spectacularly that it hardly matters. Hooper’s screenwriter William Nicholson (Shadowlands) has judiciously tinkered with the song order, which makes Les Misérables feel not only definitive, but utterly cinematic. You leave with not one song in your heart, but ten.
This adaptation of the long-running stage musical, itself based on Victor Hugo’s epic tale of romance and revolution in 19th century France, is Hooper’s first film since The King’s Speech (2010). It is as broad and sturdy as the shoulders of its twinkling-eyed star Hugh Jackman, who plays the reformed thief Jean Valjean – yet amid the bombast, it comes as close as a £40 million musical can to intimacy, thanks in part to an extraordinarily deeply-felt performance by Anne Hathaway as Fantine, a seamstress who falls into prostitution.
Everything about the film is enormous, from Claude-Michel Schönberg’s cannon-fire score to its bladder-twitching two-hour, 40-minute running time. Every last frame is rocket-launched at the back row of the cinema.
As in the stage production of Les Misérables, most of the dialogue is sung, not spoken, and Hooper’s masterstroke is to treat it as speech, not singing. The cast’s vocal performances were recorded on set as live rather than lip-synched to studio tapes, and this gives the music a vital, corporeal presence within the film: it’s like watching real,physical stuntwork instead of computer-generated trickery.
This also allows Hooper’s camera to zero in on his performers’ faces during the big, tremulous, heartfelt numbers, which in Les Misérables is all of them. When Russell Crowe’s Javert wrestles with his iron conscience, we can see the struggle behind his eyes. Eddie Redmayne and Amanda Seyfried play the lovers Marius and Cosette, and their duets are a miraculous clash of pouts and cheekbones.
Isabelle Allen and Daniel Huttlestone will thaw hearts as the young Cosette and the street urchin Gavroche, while Helena Bonham Carter and Sacha Baron Cohen play it grotesquely, even Burtonesquely broad as the villainous Thénardiers.
But the showstopper is Hathaway. When she half-sings, half-sobs I Dreamed A Dream, hair cropped and eyes shining like Maria Falconetti, Hooper captures her performance in a single, unblinking, breath-catching close-up. This will be the clip they show before she wins her Oscar.
Les Misérables is only Hooper’s fourth feature, and his directorial style is still bedding in: some big, comic-book camera angles feel a touch over-egged, as does the extraordinarily shallow focus he uses in close-up. But he marshals the spectacle so spectacularly that it hardly matters. Hooper’s screenwriter William Nicholson (Shadowlands) has judiciously tinkered with the song order, which makes Les Misérables feel not only definitive, but utterly cinematic. You leave with not one song in your heart, but ten.
12-06-12, 01:15 PM
#183
Moderator
Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
Do you hear the people sing? Stand outside any cinema in just over one month’s time and you will. Tom Hooper’s screen adaptation of Les Misérables is a heart-soaring, crowd-delighting hit-in-waiting: the Mamma Mia it’s all right to like.
This adaptation of the long-running stage musical, itself based on Victor Hugo’s epic tale of romance and revolution in 19th century France, is Hooper’s first film since The King’s Speech (2010). It is as broad and sturdy as the shoulders of its twinkling-eyed star Hugh Jackman, who plays the reformed thief Jean Valjean – yet amid the bombast, it comes as close as a £40 million musical can to intimacy, thanks in part to an extraordinarily deeply-felt performance by Anne Hathaway as Fantine, a seamstress who falls into prostitution.
Everything about the film is enormous, from Claude-Michel Schönberg’s cannon-fire score to its bladder-twitching two-hour, 40-minute running time. Every last frame is rocket-launched at the back row of the cinema.
As in the stage production of Les Misérables, most of the dialogue is sung, not spoken, and Hooper’s masterstroke is to treat it as speech, not singing. The cast’s vocal performances were recorded on set as live rather than lip-synched to studio tapes, and this gives the music a vital, corporeal presence within the film: it’s like watching real,physical stuntwork instead of computer-generated trickery.
This also allows Hooper’s camera to zero in on his performers’ faces during the big, tremulous, heartfelt numbers, which in Les Misérables is all of them. When Russell Crowe’s Javert wrestles with his iron conscience, we can see the struggle behind his eyes. Eddie Redmayne and Amanda Seyfried play the lovers Marius and Cosette, and their duets are a miraculous clash of pouts and cheekbones.
Isabelle Allen and Daniel Huttlestone will thaw hearts as the young Cosette and the street urchin Gavroche, while Helena Bonham Carter and Sacha Baron Cohen play it grotesquely, even Burtonesquely broad as the villainous Thénardiers.
But the showstopper is Hathaway. When she half-sings, half-sobs I Dreamed A Dream, hair cropped and eyes shining like Maria Falconetti, Hooper captures her performance in a single, unblinking, breath-catching close-up. This will be the clip they show before she wins her Oscar.
Les Misérables is only Hooper’s fourth feature, and his directorial style is still bedding in: some big, comic-book camera angles feel a touch over-egged, as does the extraordinarily shallow focus he uses in close-up. But he marshals the spectacle so spectacularly that it hardly matters. Hooper’s screenwriter William Nicholson (Shadowlands) has judiciously tinkered with the song order, which makes Les Misérables feel not only definitive, but utterly cinematic. You leave with not one song in your heart, but ten.
This adaptation of the long-running stage musical, itself based on Victor Hugo’s epic tale of romance and revolution in 19th century France, is Hooper’s first film since The King’s Speech (2010). It is as broad and sturdy as the shoulders of its twinkling-eyed star Hugh Jackman, who plays the reformed thief Jean Valjean – yet amid the bombast, it comes as close as a £40 million musical can to intimacy, thanks in part to an extraordinarily deeply-felt performance by Anne Hathaway as Fantine, a seamstress who falls into prostitution.
Everything about the film is enormous, from Claude-Michel Schönberg’s cannon-fire score to its bladder-twitching two-hour, 40-minute running time. Every last frame is rocket-launched at the back row of the cinema.
As in the stage production of Les Misérables, most of the dialogue is sung, not spoken, and Hooper’s masterstroke is to treat it as speech, not singing. The cast’s vocal performances were recorded on set as live rather than lip-synched to studio tapes, and this gives the music a vital, corporeal presence within the film: it’s like watching real,physical stuntwork instead of computer-generated trickery.
This also allows Hooper’s camera to zero in on his performers’ faces during the big, tremulous, heartfelt numbers, which in Les Misérables is all of them. When Russell Crowe’s Javert wrestles with his iron conscience, we can see the struggle behind his eyes. Eddie Redmayne and Amanda Seyfried play the lovers Marius and Cosette, and their duets are a miraculous clash of pouts and cheekbones.
Isabelle Allen and Daniel Huttlestone will thaw hearts as the young Cosette and the street urchin Gavroche, while Helena Bonham Carter and Sacha Baron Cohen play it grotesquely, even Burtonesquely broad as the villainous Thénardiers.
But the showstopper is Hathaway. When she half-sings, half-sobs I Dreamed A Dream, hair cropped and eyes shining like Maria Falconetti, Hooper captures her performance in a single, unblinking, breath-catching close-up. This will be the clip they show before she wins her Oscar.
Les Misérables is only Hooper’s fourth feature, and his directorial style is still bedding in: some big, comic-book camera angles feel a touch over-egged, as does the extraordinarily shallow focus he uses in close-up. But he marshals the spectacle so spectacularly that it hardly matters. Hooper’s screenwriter William Nicholson (Shadowlands) has judiciously tinkered with the song order, which makes Les Misérables feel not only definitive, but utterly cinematic. You leave with not one song in your heart, but ten.
12-06-12, 03:22 PM
#184
Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
http://blogs.indiewire.com/thompsono...ostHeaderPanel
Anne Thompson includes some early review excerpts in her column on this film. Go to page 2.
Anne Thompson includes some early review excerpts in her column on this film. Go to page 2.
12-06-12, 04:48 PM
#185
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Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
http://www.variety.com/review/VE1117948874/
As a faithful rendering of a justly beloved musical, "Les Miserables" will more than satisfy the show's legions of fans. Even so, director Tom Hooper and the producers have taken a number of artistic liberties with this lavish bigscreen interpretation: The squalor and upheaval of early 19th-century France are conveyed with a vividness that would have made Victor Hugo proud, heightened by the raw, hungry intensity of the actors' live oncamera vocals. Yet for all its expected highs, the adaptation has been managed with more gusto than grace; at the end of the day, this impassioned epic too often topples beneath the weight of its own grandiosity.
As a faithful rendering of a justly beloved musical, "Les Miserables" will more than satisfy the show's legions of fans. Even so, director Tom Hooper and the producers have taken a number of artistic liberties with this lavish bigscreen interpretation: The squalor and upheaval of early 19th-century France are conveyed with a vividness that would have made Victor Hugo proud, heightened by the raw, hungry intensity of the actors' live oncamera vocals. Yet for all its expected highs, the adaptation has been managed with more gusto than grace; at the end of the day, this impassioned epic too often topples beneath the weight of its own grandiosity.
12-06-12, 04:58 PM
#186
DVD Talk Legend
Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
Do you hear the people sing? Stand outside any cinema in just over one month’s time and you will. Tom Hooper’s screen adaptation of Les Misérables is a heart-soaring, crowd-delighting hit-in-waiting: the Mamma Mia it’s all right to like.
This adaptation of the long-running stage musical, itself based on Victor Hugo’s epic tale of romance and revolution in 19th century France, is Hooper’s first film since The King’s Speech (2010). It is as broad and sturdy as the shoulders of its twinkling-eyed star Hugh Jackman, who plays the reformed thief Jean Valjean – yet amid the bombast, it comes as close as a £40 million musical can to intimacy, thanks in part to an extraordinarily deeply-felt performance by Anne Hathaway as Fantine, a seamstress who falls into prostitution.
Everything about the film is enormous, from Claude-Michel Schönberg’s cannon-fire score to its bladder-twitching two-hour, 40-minute running time. Every last frame is rocket-launched at the back row of the cinema.
As in the stage production of Les Misérables, most of the dialogue is sung, not spoken, and Hooper’s masterstroke is to treat it as speech, not singing. The cast’s vocal performances were recorded on set as live rather than lip-synched to studio tapes, and this gives the music a vital, corporeal presence within the film: it’s like watching real,physical stuntwork instead of computer-generated trickery.
This also allows Hooper’s camera to zero in on his performers’ faces during the big, tremulous, heartfelt numbers, which in Les Misérables is all of them. When Russell Crowe’s Javert wrestles with his iron conscience, we can see the struggle behind his eyes. Eddie Redmayne and Amanda Seyfried play the lovers Marius and Cosette, and their duets are a miraculous clash of pouts and cheekbones.
Isabelle Allen and Daniel Huttlestone will thaw hearts as the young Cosette and the street urchin Gavroche, while Helena Bonham Carter and Sacha Baron Cohen play it grotesquely, even Burtonesquely broad as the villainous Thénardiers.
But the showstopper is Hathaway. When she half-sings, half-sobs I Dreamed A Dream, hair cropped and eyes shining like Maria Falconetti, Hooper captures her performance in a single, unblinking, breath-catching close-up. This will be the clip they show before she wins her Oscar.
Les Misérables is only Hooper’s fourth feature, and his directorial style is still bedding in: some big, comic-book camera angles feel a touch over-egged, as does the extraordinarily shallow focus he uses in close-up. But he marshals the spectacle so spectacularly that it hardly matters. Hooper’s screenwriter William Nicholson (Shadowlands) has judiciously tinkered with the song order, which makes Les Misérables feel not only definitive, but utterly cinematic. You leave with not one song in your heart, but ten.
This adaptation of the long-running stage musical, itself based on Victor Hugo’s epic tale of romance and revolution in 19th century France, is Hooper’s first film since The King’s Speech (2010). It is as broad and sturdy as the shoulders of its twinkling-eyed star Hugh Jackman, who plays the reformed thief Jean Valjean – yet amid the bombast, it comes as close as a £40 million musical can to intimacy, thanks in part to an extraordinarily deeply-felt performance by Anne Hathaway as Fantine, a seamstress who falls into prostitution.
Everything about the film is enormous, from Claude-Michel Schönberg’s cannon-fire score to its bladder-twitching two-hour, 40-minute running time. Every last frame is rocket-launched at the back row of the cinema.
As in the stage production of Les Misérables, most of the dialogue is sung, not spoken, and Hooper’s masterstroke is to treat it as speech, not singing. The cast’s vocal performances were recorded on set as live rather than lip-synched to studio tapes, and this gives the music a vital, corporeal presence within the film: it’s like watching real,physical stuntwork instead of computer-generated trickery.
This also allows Hooper’s camera to zero in on his performers’ faces during the big, tremulous, heartfelt numbers, which in Les Misérables is all of them. When Russell Crowe’s Javert wrestles with his iron conscience, we can see the struggle behind his eyes. Eddie Redmayne and Amanda Seyfried play the lovers Marius and Cosette, and their duets are a miraculous clash of pouts and cheekbones.
Isabelle Allen and Daniel Huttlestone will thaw hearts as the young Cosette and the street urchin Gavroche, while Helena Bonham Carter and Sacha Baron Cohen play it grotesquely, even Burtonesquely broad as the villainous Thénardiers.
But the showstopper is Hathaway. When she half-sings, half-sobs I Dreamed A Dream, hair cropped and eyes shining like Maria Falconetti, Hooper captures her performance in a single, unblinking, breath-catching close-up. This will be the clip they show before she wins her Oscar.
Les Misérables is only Hooper’s fourth feature, and his directorial style is still bedding in: some big, comic-book camera angles feel a touch over-egged, as does the extraordinarily shallow focus he uses in close-up. But he marshals the spectacle so spectacularly that it hardly matters. Hooper’s screenwriter William Nicholson (Shadowlands) has judiciously tinkered with the song order, which makes Les Misérables feel not only definitive, but utterly cinematic. You leave with not one song in your heart, but ten.
12-06-12, 05:42 PM
#187
DVD Talk Godfather & 2020 TOTY Winner
Thread Starter
Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
What are they supposed to say? It is his first film since The King's Speech. That's just a statement of a fact and is significant if for no other reason than he won an Oscar for the last film he directed.
12-06-12, 06:48 PM
#188
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Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
12-06-12, 07:54 PM
#189
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Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
I think you mean "verbatim"?
12-07-12, 07:14 PM
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Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
It turns out that I'm unable to see this until several days after the release ... so the question I'm asking myself is, do I but the soundtrack to get acclimated to the voices, or do I go in cold? Hmmmm.
12-08-12, 09:51 AM
#192
DVD Talk Legend
Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
Is the ST ever coming out? I imagined we wouldn't get it in advance like typical musicals since this was done live.
12-08-12, 10:36 AM
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Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
The "Highlights" from the soundtrack releases the day after Christmas. No full soundtrack is up for preorder yet.
12-08-12, 11:55 AM
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Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
Maybe Best Buy or Target will have an exclusive Full Soundtrack version? Wasn't something like that done before? Across the Universe, maybe?
12-08-12, 05:13 PM
#196
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Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
Featurette with snippets from the original song, "Suddenly":
<iframe width="640" height="360" src="http://www.youtube.com/embed/FenjTgqaQ6Q?feature=player_embedded" frameborder="0" allowfullscreen></iframe>
<iframe width="640" height="360" src="http://www.youtube.com/embed/FenjTgqaQ6Q?feature=player_embedded" frameborder="0" allowfullscreen></iframe>
12-08-12, 11:49 PM
#197
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Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
I like this featurette on the costume design.
<iframe width="640" height="360" src="http://www.youtube.com/embed/jd5ffc48RJU" frameborder="0" allowfullscreen></iframe>
Also, it's weird how the word on this film has done such a big 180. Now the negative reviews are coming out of the woodworks and the early Metacritic is a fairly dismal 55. This at the same time ZDT has been flooded with glorious ecstatic reviews. In the past week Les Miz has gone from Oscar front-runner to long shot. I'm still very much looking forward to this film (and so is my daughter who can't wait), but it is funny how quickly the perception has changed.
<iframe width="640" height="360" src="http://www.youtube.com/embed/jd5ffc48RJU" frameborder="0" allowfullscreen></iframe>
Also, it's weird how the word on this film has done such a big 180. Now the negative reviews are coming out of the woodworks and the early Metacritic is a fairly dismal 55. This at the same time ZDT has been flooded with glorious ecstatic reviews. In the past week Les Miz has gone from Oscar front-runner to long shot. I'm still very much looking forward to this film (and so is my daughter who can't wait), but it is funny how quickly the perception has changed.
12-09-12, 12:31 AM
#198
Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
Also, it's weird how the word on this film has done such a big 180. Now the negative reviews are coming out of the woodworks and the early Metacritic is a fairly dismal 55. This at the same time ZDT has been flooded with glorious ecstatic reviews. In the past week Les Miz has gone from Oscar front-runner to long shot. I'm still very much looking forward to this film (and so is my daughter who can't wait), but it is funny how quickly the perception has changed.
Last edited by brainee; 12-09-12 at 02:50 AM.
12-09-12, 01:36 AM
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Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
Yeah, not a thing in the negative reviews is scaring me at all. Many of them wanted more dialogue, didn't like the stage show, thought it was too long, all things that aren't a problem with me. And given the nastier tone of a couple of the early bad reviews, they had the feel of "balancing" the early praise. We'll have a better idea in a couple of days where the critics will actually land, but my hopes are still high.
12-09-12, 08:57 AM
#200
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Re: Les Misérables (Dir : Tom Hooper) - Dec 7, 2012
Yeah. Some of that bitching in the reviews seems to be well...people being bitches about little things they personally have issues with.